Peavey TNT 130 User manual

TNT 130
Operating Guide
INTRODUCTION AND GENERAL DESCRIPTION
Congratulations on your purchase of the Peavey TNT'" 130 bass amplification system. After reading this
owner’s manual you will have a better understanding of the operating principles of the system. A thorough
understanding of these instructions will also help you to achieve many varied tonal settings.
The TNT'" 130 isa highlyadvanceG, 130 watt bass system utilizing the latest active equalization circuitry, built-in
variable crossover network, patching facilities, a tuned and ported enclosure and a very efficient 15“ loudspeaker.
(As an option, the TNT ™ 130 is available with a premium Black Widow®/Super Structure"* transducer model #1502-
4.) The TNT’“ 130 also employs our patented DDT ™ (Distortion Detection Technique) compression circuit (U.S.
Patent #4,318,053) which automatically detects the onset of clipping (distortion) at the power amp. Not only does
this novel circuit help prevent speaker damage/failure, it also aids in reproducing the ultra clean sounds for today’s
bass and keyboard styles.
As with any sophisticated piece of equipment, there are some operating principles concerning the input stage,
gain controls, equalization and patching facilities which must be understood to obtain the best tonal results. Please
read and understand this manual and keep it handy for future reference.
TNT ™ 1 30 SPECIFICATIONS
POWER AMPLIFIER SECTION:
RATED POWER & LOAD:
130 W RMS into 4 ohms with DDT'“ compression
POWER @ CLIPPING: (TYPICALLY)
(5% THO, 1 KHz. 120 VAC line)
85 W RMS into 8 ohms
140 W RMS into 4 ohms
2 ohms not recommended
FREQUENCY RESPONSE:
*0. -1 dB. 20 Hz to 20 KHz @ 100 W RMS into 4 ohms
TOTAL HARMONIC DISTORTION:
Less than 0.2%. 100 mW to 100 W RMS. 20 Hz to 10 KHz.
4 ohms, typically below 0 1%
DDT'" DYNAMIC RANGE:
Greater than 20 dB
DDT “ MAXIMUM THD:
Below 0.5% THD for 6 dB overload
Below 1% THD for 20 dB overload
HUM & NOISE:
Greater lhan 95 dB below rated power
POWER CONSUMPTION: (Domestic)
30 watts. 50/60 Hzm 120 VAC
PREAMP SECTION:
THE FOLLOWING SPECS ARE MEASURED @ 1 KHz
WITH THE CONTROLS PRESET AS FOLLOWS:
PRE GAIN PULL BRIGHT OFF (IN)
POST GAIN PULL PUNCH OFF (IN)
POST GAIN @ 10
LOW EO @ -6 dB
MID EO @ -6 dB
SHIFT O 300 Hz
BANDWIDTH @ 12:00
HIGH (5) +9 dB
PRESENCE @0 dB
NOMINAL LEVELS ARE WITH PRE GAIN @ 5
MINIMUM LEVELS ARE WITH PRE GAIN @ 10
PREAMP HIGH GAIN INPUT:
Impedance: High Z. 220K ohms
Nominal Input Level: -30 dBV. 30 mV RMS
Minimum Input Level -46 dBV. 5 mV RMS
Maximum Input Level: +8 dBV. 2.5 V RMS
PREAMP LOW GAIN INPUT:
Impedance: High Z. 44K ohms
Nominal Input Level: -24 dBV 60 mV RMS
Minimum Input Level: -40 dBV. 10 mV RMS
Maximum Input Level: *-14 dBV, 5 V RMS
CROSSOVER HIGH OUTPUT:
Function: High pass out
Load Impedance: IK ohms or greater
Nominal Output: 0 dBV. 1 V RMS
Maximum Output: *18 dBV, 8 V RMS
CROSSOVER LOW OUTPUT:
Function: Low pass out
Load Impedance: IK ohms or greater
Nominal Output: 0 dBV. 1 V RMS
Maximum Output: +18 dBV, 8 V RMS
PREAMP OUTPUT:
Function: Full range out
Load Impedance: IK ohms or greater
Nominal Output: 0 dBV, 1 V RMS
Maximum Output: +18 dBV. 8 V RMS
POWER AMP INPUT:
Impedance: High Z. 22K ohms
Designed Input Level: 0 dBV. 1 V RMS
(Switching jack providing preamp output to power amp
input connection when not used)
SYSTEM HUM & NOISE @ NOMINAL INPUT LEVEL:
(20 Hz to 20 KHz unweighted)
78 dB below rated power
EQUALIZATION:
Low & High: +-15 dB (® 80 Hz & 3 KHz, shelving
Mid- —15 dB (with shift & bandwidth), peak/notch
Shift: 150 Hz to 1500 Hz
Bandwidth: 1/3 to 3 octaves
Presence: +-15 oB (Special EO)
Pull Bright: *6 dB @ 2 KHz
Pull Punch: Special EQ
CROSSOVER: (FOR BI-AMP APPLICATIONS)
Range: 50 Hz to 500 Hz
Slope: i2dB/octave
WARNING
TO PREVENT ELECTRICAL SHOCK OR FIRE HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
BEFORE USING THIS APPLIANCE. READ BACK COVER FOR FURTHER WARNINGS.

THE FRONT PANEL
On/Ofl Switch
The on/oif power switch is a two position rocker-type and should present no problem In operation. In the
on position, a red LED indicator will Illuminate showing that power is oeing supplied to the unit. NOTE: WHEN
THE UNIT IS TURNED ON THE DDT" COMPRESSION LED MAY MOMENTARILY ILLUMINATE.
ALTHOUGH WE RECOMMEND THAT THE GAIN CONTROLS (PRE AND POST GAIN) SHOULD BE AT
THEIR ZERO POSITIONS BEFORE THEPOWER SWITCH IS TURNED ON, THE OCCASIONALLY LIGHTING
OF THE DDT' - LED IN THIS INSTANCE SHOULD BE CONSIDERED NORMAL.
Ground Switch
The ground switch is a 3-position rocker-type which, in mostappllcations.should be operated in itscenter
or zero position. You may encounter some situations where an audible hum and/or noise will come from the
loudspeaker. If this situation arises, posilion the ground switch toeitheroositive or negative or until the noise is
eliminated NOTE: SHOULD THE NOISE PROBLEM CONTINUE. CONSULT YOUR AUTHORIZED PEAVEY
DEALER. THE PEAVEY FACTORY OR QUALIFIED SERVICE TECHNICIANS DO NOT UNDER ANY
CIRCUMSTANCE. REMOVE THE GROUND PIN ON THE MAINS (POWER) CABLE NOTE: The Ground
Switch is not functional on export units.
DDT'" Compression
The TNT* 130 utilizes our patented DDT’" (Distortion Detection Technique) compression circuit to effectively
eliminate the possibility of distortion (square waves) from occuring within the power amp
As mentioned in the On/Off Switch section, the DOT 1 * LED will sometimes illuminate when the unit is first
turned on and this should be considered normal. The DDT" LED will also occasionally illuminate to indicate
tnat the DOT" circuit is automatically engaging to prevent distortion. NOTE; IF THE DDT" LED REMAINS
CONSTANTLY LIT WHILE YOU ARE PLAYING. THIS IS AN INDICATION THAT THE GAIN (VOLUME)
CONTROLS AND/OR EQUALIZATION CONTROLS ARE SET IN POSITIONS THAT ARE MAKING THE
POWER AMP OVERWORK. ALTHOUGH THE DDT". IN MOST CASES. WILL PREVENT SPEAKER DAMAGE
AND/OR FAILURE WE RECOMMEND THAT THE GAIN/EQUALIZATION CONTROLS BE READJUSTED
UNTIL THE DDT'" LED WILL ILLUMINATE PERIODICALLY
Patch Section
The patch section consists of tv/o jacks labeled preamp output and power amp input. Primarily the preamp
output and power amp input jacks are used for patching effects devicesand signal processing equipment "in¬
line" with the TNT'" 130. Most devices such as flangers, chorus, tape/analog/digital delays or gain devices such
as external compressors can be used within the effects loop. The preamp output level is approximately 1 volt
RMS and is a relatively low impedance — 1000 ohms. To utilize this effects loop, use a high duality, shielded
patch cord and plug one end into the preamp output and the other end into theexternal device input. To return
the processed signal to the TNT'" 130. use a second high quality shielded patch cord and plug one end into the
external unit output and the other end of the patch cord Into the power amp input
Since this method of using an effect places the device alter the preamp/ equalization and before tne power
amp you will have a greater degree of control over the sound quality of the device or signal processing unit
The preamp output can also be used to send the signal of the instrumem/ preamp to mixing and recording
consoles. For this method use a high quality, shielded patch cere anc make the connection from the TNT"
130’s preamp output to the desired channel of the mixer or loan auxiliary device where the signal is not to be
returned to the power amp input. With this method of sending your instrument signal or auxiliary device, you do
not have to utilize the power amp input as the signal will automatically feed the power amp section
-iU
The Crossover
The TNT'" 130 is equipped with a built-in variable crossover network which gives thebassist/keyboardist
the basic tools to perform the bi-amp function. To achieve the bi-ampfunction the musician must acquire one
(1) additional power amp and one (1) additional loudspeaker and enclosure. For a perfect companion system
we recommend our XC-400'" or M-3000" power amps and the 118D’" low frequency enclosure. To utilize this
recommended bi-amp system, use a short, high quality, shielded patch cord (1 - 3 feet in length) and make the
connection from the high output of the crossover section to the power amp input of the TNT'" 130 Use a longer,
high quality, shielded patch cord to make the connection from the low output of the crossover section to the
external power amp input Use a high quality, unshioldod patch cord to make the connection from the external
power amp's outputs to the low frequency enclosure.
We recommend that, for the optional equipment and bi-amp procedures mentioned above, the crossover
point be established somewhere around 175 Hz to 300 Hz. This method now allows the TNT 1 " 130 to reproduce
only those frequencies above the crossover point while the external power amp/enclosure will reproduce
frequencies below the crossover point. NOTE: THIS IS ONLY ONE EXAMPLE OF THE BI-AMP OPERATION
OF THE TNT'" 130. IF YOU ARE NOT FAMILIAR WITH THIS OR ANY OTHER BI-AMP TECHNIQUE, WE
RECOMMEND THAT YOU CONSULT YOUR AUTHORIZED PEAVEY DEALER.THE PEAVEY FACTORY OR
QUALIFIED TECHNICAL PERSONNELTO OBTAIN OTHER PERTINENT INFORMATION ON YOUR BI-AMP
SYSTEM.
Equalization Section
The TNT'“ 130s equalization section contains six individual controls for shaping and contouring the
instrument signal Please be aware that the TNT’" 130 employs active circuitry which allows you to have
accurate cut and boost capability of highs (treble), iows (bass) and the vital middle frequencies. Because these
controls are active, tne low. mid. high and presence controls can reproduce the ‘‘natural" sound of the
instrument without undue coloration by simply placing them at their 12 o'clock or zero positions. Rotating
these controls to their center positions is actually an excellent place to start when you begin to search for new
tonalities and sounds. NOTE: WHEN THE LOW. MIDDLE. HIGH AND PRESENCE CONTROLS ARE PLACED
AT THEIR 12 O'CLOCK OR ZERO POSITIONS. THERE WILL BE CORRESPONDINGLY LITTLE EFFECT ON
THE INSTRUMENTS SIGNAL AND THE CONTROLS LABELED SHIFT AND BANDWIDTH WILL HAVE NC
EFFECT BECAUSE THE MIDDLE HAS BEEN SET FLAT".
The Presence Control
The presence control should be used to adjust the extreme high end (treble) of the bass guitar or keyboard
signal. For less high end response lotate the presence control counlerclockwise (0 to-12dB) until achieving

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the desired high end rolloff. To boost high end response of the preamp, rotate the control clockwise (Oto+12
dB) The boost portions of this control are very effective for adding an edge to contemporary "neck slapping"
and "string popping" techniques employed by bassists or for accentuating the high end of electronic
keyboards. (See tone setting charts tor further examples.)
The High Control
The high control is similar in operation to the presence control but is placed ata lower frequency point. As
with the presence control, less high end response is obtained through counterclockwise rotation (0 to -15 dB)
while Increased treble response occurs In the ranges from0to+i5dB. (See the tone setting charts for further
examples.)
The Mid, Shift and Bandwidth Controls (Parametric Equalizer)
The mid, shift and bandwidth controls together determine the tonal response of the vital mid-band region.
We choose to use the word vital to describe the mid frequencies because proper use of this frequency region
can and does make the difference between a good sound and a great one Thorough experimentation with
these controls will rapidly demonstrate the versatility and effectiveness they will have on your overall sound.
The mid control is the element which will determine how much of the mid frequency range will be added
(boost) or subtracted (cut) As with the other active controls, boost of the mids is obtained from 0 through +15
dB while cut is available from 0 through -15 dB.
The shift control allows the musician to determine where the cut and boost of the mid control will operate.
The shift controls allow total control of the entire mid-band region from the low mids (150 Hz) to the upper mids
(1.5 kHz).
To further ao|ust the mid-band region, the bandwidth control can be used to create a peak sound in the
mids by gradually rotating the control counterclockwise to the sharp position. By rotating tne banowidth
control clockwise (broad) the mids begin to gradually sound warmer and fatter as they are spread across a
wider portion of the mid-band spectrum.
To get a better idea of how the mid. shift and bandwidth controls operate, do the following experiment:
1. Plug the instrument into the high or low gain jocks.
2. Rotate the pre gain control to #2 or *3 (Pull Bright switch in).
3. Rotate the post gain control between #5 ana #8 (Pull Punch in)
4. Place the low and high equalization controls at 0 (zero).
5. Place the mid control somewhere above (+) its zero position.
6 Play the open first (G) string or the bass (or strike a note somewhere in the middle of the keyboard)
and allow it to sustain.
7 As the note sustains, manually sweep the shift and bandwidth controls.
Note the wide differences in tonality which can be achieved with these 3 controls. Again, after you spend
time with these three important controls you will develop understanding of their operation
The Low Control
The low control determines the low end (bass) response of the TNT"" 130 The low control is active and is
capable of adding or subtracting the desired amount of low end. Boost is obtained from Oto -15 dB and cut is
available from Oto -15 dB. NOTE: ALTHOUGH THE LOW CONTROL SHOULD PRESENT NO PROBLEM IN
OPERATION, IT SHOULD BE NOTED THAT OVERBOOSTING OF THE LOW CONTROL MAV CAUSE THE
TNT— 130 s DDT- COMPRESSION LED TO ACTIVATE PREMATURELY —EVEN AT LOW VOLUME LEVELS.
USUALLY, THIS OCCURRENCE CAN BE CORRECTED BY CUTTING THE AMOUNT OF LOWS UNTIL THE
DDT"’ LED ACTIVATES PERIODICALLY
The Gain Section
Post Gain Control
In normal use. the post gain control should be operated above the t2 o'clock or #5 position. To obtain
maximum power, rotate the control fully clockwise to «10 NOTE: WITH THE POST GAIN CONTROL AT ITS
#10 POSITION. THE PRE GAIN CONTROL SHOULD NOT BE OPERATED ABOVE ITS 12 O'CLOCK OR 45
POSITION TO AVOID UNWANTED DISTORTION. WHILE UTILIZING MAXIMUM POWER AND EXTREME
HIGH END BOOST IN THE EO SECTION. YOU MAY FIND IT NECESSARY TO BACK DOWN (CUT) THE
POST GAIN CONTROL TO APPROXIMATELY ITS #8 POSITION TO AVOID ANY UNWANTED RESIDUAL
NOISE
The post gain control utilizes an integral pull switch called "punch". When activated, punch adds a 6 dB
boost at 120 Hz and adds dramatically and effectively to tne lowend response and projection capabilities of the
TNT- 130.
Pre Gain Control
The pre gain control is the first volume control of the system. If the post gain control is set lo its full #10
position for maximum power reserve. Ihe pre gain control should be positioned somewhere in the middle of its
range or lower Placing the pre gain control higher than fc5 may cause unwanted square waves (distortion) and
result in premature clipping and/or activation of rhe DDT" compression circuitry The pre gain control also
employs a pull bright switch which adds approximately 8 dB of boost to the high end. Like the high and
presence controls explained in the Equalization Section paragraph, the pull bright switch can be used lo
enhance many modern bass playing techniques.
.The Inputs
The TNT-130 has two inputs labeled high gain and low gam. The high gain input is the Input which should
normally be used and will deliver the highest signal evel from the input to the preamp. Sometimes, however,
bass guitars that are equipped with very nigh output hot' pickups will overload thehigh gain input. This will be
apparent because you will hear some unwanted distortion at the loudspeaker or frequent illuminating of the
DDT- compression light If this distorted sound does occur, plug your instrument into the lowgain input which
has less gain (- 6 dB) than the high gain input Wher two instruments or signal sources are plugged into both
inputs, the low gain input is automatically switched to the same level as the high gain input. NOTE: WHEN
USING TWO INSTRUMENTS OR SIGNAL SOURCES WE STRONGLY RECOMMEND THAT THE VOLUME
CONTROLS BE SET AT A REASONABLY LOW VOLUME LEVEL TO REDUCE THE POSSIBILITY OF UNDUE
DISTORTION AND/OR SPEAKER DAMAGE.

TONE SETTINGS
ROCK
COUNTRY-BLUES
ACTIVATE
PULI BSIGH7 AMD PULL PUNCH
FUNK
ACTIVATE
PULL 0RIGH-
NOTE:
THE ABOVE TONE CHARTS ARE MEANT ONLY AS A GENERAL GUIDE AND ARE PROVIDED TO FAMILIARIZE THE
PLAYER WITH THE FUNCTIONS AND CONTROLS OF THE TNT ™ 130. ADJUSTMENTS TO THESE CONTROLS WILL BE
NECESSARY DUE TO VARYING TYPES OF INSTRUMENTS. PICKUPS AND ACCESSORIES UTILIZED ALONG WITH
YOUR STYLE OF MUSIC AND PLAYING TECHNIQUES. BE SURE TO READ ALL OF THIS OPERATING GUIDE TO
UNDERSTAND FULLY ALL OF THE CONTROLS AND THEIR FUNCTIONS.
OANGE ■
EXPOSURE TO EXTREMELY HIGH NOISE LEVELS MAY CAUSE A PERMANENT HEARING LOSS INONIOUALS VARY CONSIDERABLY IN SUSCEPTIBILITY TO NOISE INDUCED HEARING LOSS. BUT
NEARLY EVERYONE «VILL LOSE SCA1E HEARING IF EXPOSEO TO SUFFICIENTLY INTENSE NOISE FOR A SUFFICIENT TIME
THE U S GOVERNMENT'S OCCUPATIONAL SAFETY ANO HEALTH ADMINISTRATION |C«HA| HAS SPECIFIED THE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES
DURATION PER DAY IN HOURS SOUND LEVEL dBA SLOW RESPONSE
ACCOROINi
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PEAVEY ELECTRONICS CORPORATION
711 A Street / Meridian. MS 39301 / USA
Due TO 0u» efforts for constant improvement, features and specifications are suDject to change without notice.
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